A life of song

French singer will perform jazz standards — her way


Classically trained, Radiohead listening, international law studied, over-six-foot-tall jazz vocalist Frederique Jean-Denis doesn't sing songs. She "interprets" them. Having used the latter verb several times in place of "to sing", she revealed a Frederique fundamental — deep respect for jazz tradition mixed with passion for individuality.

To put it her way: "There are many ways to sing a (jazz) standard. But you add a personal touch and make it your own."

Bending tradition to her will seems to come easy — 10 years of classical music study (cello and opera singing) ensure she knows every rule before she breaks any. In classical music's structure and history of centuries, she found musical growth, but not her self. Frederique wanted free expression — her own style, her own music.

The change was radical, the rules shattered. From cellos to computers, ballads to breakbeats — Frederique leapt from classical to trip-hop. Yes, the music of Portishead and Massive Attack, a genre so in love with "lo-fi" sound and old vinyl samples many trip-hop bands refuse to record live. They instead, record onto old tape and sample from there.

Most people with classical training would blanch and find magic once more in the works of old, but Frederique's desire for innovation was piqued. Her trip-hop years are clearly dear to her — a time of musical discovery with the band Kolkoz.

Musical discoveries

She became known in Switzerland as a singer, and in the summer of 2002, the Swiss drum 'n' bass band Freebase Corporation asked her to perform with them at the prestigious Montreux Jazz Festival. It was here that she composed and "interpreted" her own song. Recognition came easy after.

"I love music," she says with a 'global' gesture to emphasise an open mind. "I've become fond of rock 'n' roll in the past six months." Anybody in particular? I ask, expecting 'Bill Haley and the Comets' and the like. But Frederique's usage of 'rock 'n' roll' is in the almost quaint, broader sense of the term.

"Radiohead. I enjoy listening to Radiohead," she says, eyes alight. In fact, her eyes light up every time she talks of the new, the potential, the possible. "I was given a CD by a friend, of singer Shirley Horn. She has a profound voice that makes you want to just stop..." she freezes in animated wonder to demonstrate. I mentally add another CD to my wish list.

I ask about Diana Krall and Norah Jones — two female jazz vocalists who have seen wide acceptance.

Their popularity had initially given her pause, but Frederique — charmingly without the snobbery of pursuers of arcane arts — found she liked them both.

"In fact, I was inspired by Diana Krall — she has a very profound and sensitive voice that comes from... here," she says, chopping a hand low on her torso.

When talk drifts to Ella Fitzgerald and the like, she's reticent, almost wary. "I like her... the past is nice... but you can build on it, you need something to build on."

Frederique's backing band and song list for her Dubai concerts show no such reticence. She will have the traditional accompaniment of piano, double bass and drums. For content she has delved into the jazz standards book and included even pillars such as Take the A Train and Summertime.

The local show

"These are standards which I evolve into something personal. I scat and improvise and make them my style," she says. "It's not a show of bibbedy bibbedy bibbedy..." she imitates a bebop player at full, esoteric pelt. "It's a show that you relax for, and enjoy."

After her concerts she goes back to Switzerland to begin rehearsals for the rock opera Dracula, in which she plays one of the Count's mistresses. It will be the first time she sinks her teeth into acting as well as singing.

Camille Harb, a lawyer promoting the singer in the UAE, stresses on how Fredrique is able to turn any song into her very own. He says, "I appreciated Frederique's talent and determination. Also, she is very rich intellectually — she has a background in international law. She had to choose between that and music, and she found her way."

Frederique smiles broadly and nods. There are clearly no regrets there.

Classical cello, opera, trip hop, jazz, rock opera — not even Frederique is guessing what's next. It'll be safe only to say "music" — with that global gesture again.